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The Skater / Shimmered Pianos or Harp*
Improvised skating on thin ice as always. Shimmer applied to two pianos. With iSymphonic strings and flutes. Sprinkled with ThumbJam Shakuhachi.
*BeatHawk harp version below
Comments
Very nice, are you using mic swap pro again as love the space you are creating in these comps? What you using on the master chain ?
Thanks for listening, @Jumpercollins. No MicSwapPro this time. And, actually, just Kleverb for the send. I think the Shimmer effect did a bunch here to create the environment. I think one difference in my mixes lately is that there are instances of instruments at very low volumes occurring. Maybe that?
Beautiful work, very interested in Shimmer, likey to be my next purchase. Did you play this live?
This is a beautiful performance and recording. It really sounds natural.
The subtle volumes selected do improve the mix, IMHO. Nothing harsh or artificial comes through.
I still can't quite locate the Shakuhachi. Can someone provide a time when I might catch it... I probably just got lost in the reverie.
This one fits in the timeline right between Debussy and Ravel in the French Impressionist Salon.
Do you think you would be inspired by a harp for the main instrument? I know you hate to repeat yourself but if these pianos are saved as MIDI's I'd like to hear a bit with a harp against those strings. ("I don't take take requests unless accompanied by a significant remuneration as a token of respect for my art.")
Thank you, @McD. I will try replacing the pianos with the BeatHawk harps and post it here. I will also try to locate the shak.... yeah, listen for the breath sound at the beginning and at the very end. The iSymph flutes are pure sounding with not much breath noise, as you know.
Very pleased you liked it @Metalman. I totally recommend Shimmer. Yes, improvised live on a Kawai MP11se.
Hi @McD, as requested, a shimmered harp substitution...
Yeah. That works really well for me. I suspect and polyphonic instrument with a good "pluck"
and sustain would work for this composition: hammer dulcimer, zither and a million synth presets with the envelope adjusted for a bit of a percussive attack.
I could hear a lot of your variation approach to improvising on motifs in this one. You slowed down the playing enough for the patterns to be easier to detect and watch to see what gets changed on each iteration. You also played a with a lot less dissonance, sticking to modes without moving in and out of consonance so quickly but using the moments when you step out as interesting surprises. For me it's always context... I have to recognize the context to enjoy living it. If it's too many surprises to fast I give up guessing where you're taking us.
I do tend towards music with that has medicinal value as a comfort against for melancholy.
Most say this type of sound makes them sad. I start sad and this comforts me. Wouldn't a nice Oboe or Cello line sound good in the middle? When the bassline starts "skipping" in 12/8.
@McD, I honestly don't know what happens, fast or slow. As far as sadness... that is an emotion. When into just the feeling it is not so colored, but rather a type of energy that fluctuates.
I think you are getting the feeling. Labeling it brings on the judgement. As far as dissonance, it might just be "wrong" notes! Playing slower=fewer wrong notes. I accept them as a kind of flavoring that is like the dots in the yin yang symbol. Got to have a little of the opposite in each.
I judge everything I listen to but I can see why it's so important to turn that off when you're making the music. I've noticed you apply judgements when you listen to others. I wonder if there's a benefit to listening without judgement and just let the music pass into you without using your 'labeling' mind... fuck that. I like puzzles. What's behind these sounds? Is there message or some fundamental structure? Can does it make me feel? Is that intentional or a
unintended consequence?
@McD, I am not so sure the extent of my judgements when listening. If I listen to something here and respond, I look for something positive to say. But maybe you are right. Just I feel good, I feel nothing, I feel uncomfortable, bored. Perhaps that is enough. Still, my cerebral cortex loves that judgement stuff. I just meant that when folks label music "sad" there can be something deeper going on that transcends judgement and touches a place that has no labels.
My strict zen training (which amounted to Connie Crothers beaming love at me for two hours a week) pushes me toward the mystical, as you know.